Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 6

Clifford Isaac Addams
Bailey's Beach, Newport, Rhode Island.

1933

About the Item

Bailey's Beach (Newport, Rhode Island). 1933. Etching. Hausberg 126 state v/vi. Edition 75. 6 x 7 7/8 (sheet 9 3/8 x 12 3/8). Printed with extensive plate tone with plate tone on 'Van Gelder Zonen Holland' watermarked wove paper. Signed, dated, titled and annotated 'A imp del' in pencil. Housed in an archival 16 x 20--inch mat, suitable for framing. Addams was born near Philadelphia, and s tudied art first in the United States before leaving for continued studies in Europe. He is known to have both visited and worked in Belgium, Holland, Spain, France, Italy and, most particularly, England. He studied with Whistler in Paris in 1899. There he met, and later married, another Whistler student, Inez Eleanor Bate. Clifford Addams first exhibited his art in Paris, in 1901, and in London, in 1904. Whistler remained friendly with the couple until his death. She remained in London, and Addams settled in New York after World War I. He exhibited in New York, Boston, Philadelphia and Chicago. He was also a full member of the Chicago Society of Etchers, the Philadelphia Society of Etchers and the Society of American Etchers. Later he became president of the Philadelphia Society of Etchers .s Adams, in fact, maintained working studios in both London and New York City throughout the first three decades of the twentieth century. Born into a Quaker family near Philadelphia, he first studied architecture and then won the prestigious Cresson Traveling scholarship from the Pennsylvania Academy of Fine Arts at age 23 in 1899. Going to Paris to study painting, Addams quickly came under the spell of Whistler, enrolling at the mater’s atelier, The Academie Carmen, and soon after marrying a talented artist, Inez Bates, who taught at the Academie Carmen and then took over the running of the school until its early demise in 1901. Both Addams and his wife were pledged apprentices to Whistler: husband and wife were exceedingly close to Whistler in his last years. Their first child, Dianne, became Whistler’s goddaughter. Whistler’s influence on Addams was immediate and profound as he wrote to his parents: “I have been able to comprehend sufficiently enough, to tell you that [Whistler’s] system or craft has a depth and beauty undreamed of by me, and which I believe, once mastered, would be considered a way of working of the old Masters.” Most of Clifford Addams's fine etchings and engravings were created between 1901 and 1925. Many depict street scenes in and around London. Addams appears to have printed most of his art himself and mainly in very small editions. The largest recorded edition is 75 impressions, while others were often printed in impressions of ten or less. His art is included in such major collections as the Art Institute of Chicago, The Pennsylvania Academy of Fine Arts, the Metropolitan Museum of Art, New York, The Library of Congress, The Smithsonian Institute and the National Gallery of Art, Washington, DC
More From This SellerView All
  • "The Caissons Go Rolling Along".
    By Kerr Eby
    Located in Storrs, CT
    "The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A ri...
    Category

    1920s American Modern Landscape Prints

    Materials

    Drypoint, Etching

  • Manhattan Mountains
    By Lawrence Wilbur
    Located in Storrs, CT
    Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Artist proof, previous to the edition of 40. An atmospheric impression printed on buff-colored laid paper. Signed and dated in the plate. Signed, titled, and annotated 'Final state' and 'Jones Proof'in pencil. Housed in an archival sleeve. Painter and printmaker Lawrence Nelson...
    Category

    20th Century American Modern Figurative Prints

    Materials

    Drypoint, Etching

  • Stoops in Snow
    By Martin Lewis
    Located in Storrs, CT
    Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron catalog 89.state ii. 9 x 14 7/8 (sheet 13 1/4 x 18 7/16 ). . Edition 115 recorded impress...
    Category

    1930s American Modern Figurative Prints

    Materials

    Drypoint, Etching

  • The Spire -- New York
    By Lawrence Wilbur
    Located in Storrs, CT
    The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...
    Category

    20th Century American Modern Figurative Prints

    Materials

    Drypoint, Etching

  • Under the Bridge
    By Lawrence Wilbur
    Located in Storrs, CT
    Under the Bridge. 1985. Etching and drypoint. 9 1/2 x 12 1/8 (sheet 20 1/16 x 22). Edition 27, #13. Printed on cream wove paper, on the full sheet with deckle edges. A rich impression in excellent condition, housed in an archival folder. The etching has never been matted. Titled and numbered in pencil. by the artist; signed and initialed in pencil by the artist's estate. Provenance: the artist's estate A dramatic view of the lower East Side in New York. Housed in an archival folder awaiting your choice of mat and frame. Painter and printmaker Lawrence Nelson Wilbur...
    Category

    20th Century American Modern Figurative Prints

    Materials

    Drypoint, Etching

  • Quarter of Nine, Saturday's Children.
    By Martin Lewis
    Located in Storrs, CT
    Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 3/4 x 12 3/4 (sheet 12 7/8 x 17 7/8). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression...
    Category

    1920s American Modern Figurative Prints

    Materials

    Drypoint, Etching

You May Also Like
  • Low Country (South Carolina)
    By Elizabeth Verner
    Located in Middletown, NY
    An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...
    Category

    Early 20th Century American Modern Landscape Prints

    Materials

    Archival Paper, Drypoint, Etching

  • Palazzo dell'Angelo
    By John Taylor Arms
    Located in Middletown, NY
    Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...
    Category

    1930s American Modern Figurative Prints

    Materials

    Etching, Drypoint

  • Irving Guyer, Christmas Trees on Second Street (NYC)
    By Irving Guyer
    Located in New York, NY
    Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...
    Category

    1930s American Modern Figurative Prints

    Materials

    Etching, Drypoint

  • Tugs on the Hudson
    By Charles Frederick William Mielatz
    Located in Middletown, NY
    Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City rive...
    Category

    Early 20th Century American Modern Landscape Prints

    Materials

    Handmade Paper, Drypoint, Etching

  • The Old Smyth Gate, Charleston, South Carolina
    By Alfred Hutty
    Located in Middletown, NY
    A view of the gateway to Simmons-Edwards House (14 Legare Street), also known as the Pineapple Gate House. Etching with drypoint on watermarked "Hand Made" laid paper, signed in pen...
    Category

    Early 20th Century American Modern Landscape Prints

    Materials

    Laid Paper, Drypoint, Etching, Handmade Paper

  • Steps to the Grand Canal, St. Mark's in the distance, Venice.
    By Donald Shaw MacLaughlan
    Located in Middletown, NY
    A lovely view of Venice from the water. Etching with drypoint on antique cream laid paper with a large figural watermark, signed in pencil, lower right. 14 1/4 x 11 inches (362 x 280...
    Category

    Early 20th Century American Modern Landscape Prints

    Materials

    Laid Paper, Drypoint, Etching

Recently Viewed

View All